SKU: HL.50513703
SKU: HL.49044130
ISBN 9790001197601.
Playing in a duo is great fun for professional musicians and amateurs alike and can inspire creative music making. These pieces represent encounters between two people, with each of the nine compositions taking a specific moment or mood as its theme. Titles and indications of style and tempo will give performers ideas for interpretation, with markings relating to technique, articulation, bowing and fingerings offered for guidance. For players who would like to work out their own interpretation of these Dialogues, the second section of the book includes an unmarked score of the same pieces (with no indications of dynamics, fingerings, bowings, articulation or phrasing). This additional score is intended for use by instrumental teachers who wish to work with their pupils on marking up and arranging pieces of music for string instruments.These Dialogues are aimed at young people and adult musicians, too. They may be played as a cycle in the order given in this book, or else combined at will. Individual Dialogues may serve as useful teaching material, for student auditions or for inclusion in student concerts or chamber performances. Their musical content and brevity make these duets particularly suitable repertoire for youth music competitions. The overall duration of the set of Dialogues is about fifteen minutes.
SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: AP.50642
ISBN 9781470652517. UPC: 038081574967. English.
String Thang by Mark Wood is based on the twelve-bar blues. The blues has deep roots in American history, developed out of the work songs and chants of African-American slaves. The Great Migration of the first half of the 20th century saw freed slaves and their descendants move to northern and eastern parts of the U.S., taking their music with them. The blues took on different forms; in turn it helped to create rock, jazz, hip-hop, and other popular genres. A twelve-bar blues uses a repeating chord progression which allows musicians to express themselves creatively with each recurrence. If anything defines the blues, it is the use of blue notes---pitches that don't usually belong in a given key---and elements of improvisation.
SKU: HL.14031851
ISBN 9788759880661. Danish.
Holmboe's last quartet work, which is unofficially also String Quartet No. 21, was the last work he ever composed, and was unfinished on his death in 1996. His pupil Per Nørgård has finished the quartet, and himself characterizes his contribution by saying that the score existed “in an only partly completed form, which could however be written out with only a few cases of doubt”. With only two movements and a playing time of about nine minutes it is at its existing length the shortest of Holmboe's string quartets. The first movement takes the form of one long arch in a rocking triple time which constantly shiftsamong different tempo and pulse sensations. At the same time the rhythmic energy increases until the movement, in a faster Con moto tempo accelerates to a more flowing 12/8 time, coloured both rhythmically by cross-rhythms in duple time and timbrally by harmonics in the viola. In its middle section, Con fuoco, the movement culminates in both tempo and expression until it falls calm in brief recapitulations in reverse order of the first two sections. The rocking feeling continues in the second movement, but now at a more extroverted level from the outset, Allegro and pizzicato. The energy builds up further as the mood intensifies to Con fuoco, while all instruments go over to bowed playing, but like the first movement, this movement ends Adagio here however not as a gradual attenuation but through a sudden shift in tempo to a calm, imitative passage before the movement slowly thins out to the almost inaudible through a last, dense, open sounding chord with a brief violin solo above it.
The quartet is dedicated to Holmboe's wife MeLa May Holmboe, and was given its first performance by the Kontra Quartet on 22nd March 1997 at the Carl Nielsen Academy of Music in Odense, Denmark.
SKU: KN.SB2305
12 x 9 inches.
The Latin American String Collection is an authentic resource for the modern string room. As a Latin American Composer, Mark Contreras Gómez brings a wealth of experience to this collection – making it a trusted choice for your students. Explore Latin American styles and learn about their unique histories with information included by the composer on each and every solo. The accompanying tracks have been carefully curated and performed by the composer, and include click count-offs, performance versions, and performance demos for use while practicing each distinctive style. The book itself, is laid out with a strong focus on pedagogic sequencing, introducing new styles and dances as the musician progresses. The book is divided into sections: Open Strings, First Finger, Second Finger, Third Finger, Fourth Finger and Chromatic Changes. Perfect for fun, performance, or festival adjudication – this new collection is a must-have for your string solo library.
SKU: HL.49016754
ISBN 9790001146500. 9.0x12.0x0.68 inches.
Ignaz Joseph Pleyel (1757-1831), a composition student of Josef Haydn, was not only one of the most successful composers of his time, but also an active concert organizer, pianoforte manufacturer, publisher and music dealer. To mark his 250th birthday on 01.06.2007, this critical edition appears on the basis of the text of the first edition stored in the archives of the Schott publishing house. It contains the three most beautiful of the twelve string quartets dedicated by Pleyel to the King of Prussia.
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
SKU: BR.PB-5712-07
ISBN 9790004216491. 6.5 x 9 inches.
Felix Mendelssohn Bartholdy created a standard work with his final violin concerto in E minor op. 64 MWV O 14 that is now firmly established in today's concert repertoire. When in 1838 the composer indicated that he had in mind a violin concerto [...] in E minor [...], it was not only his friend Ferdinand David, the Gewandhaus concertmaster for whom it was intended, who was euphoric. The whole civilized violin world was awaiting this concerto - and yet it was another seven years before the much-anticipated composition was ultimately published by the Leipzig publishing house Breitkopf & Hartel in June 1845, as well as simultaneously in London and Milan. The concerto particularly appeals through its innovative treatment of the solo part, not only because the solo violin strikingly opens the first movement without a preceding orchestral tutti, but also because of its musical dialogue with the orchestra. The Leipzig Gewandhaus premiere on 13 March 1845 with Ferdinand David as soloist under the direction of Nils Wilhelm Gade served - as so frequently with Mendelssohn - virtually as a proofreading process. After the composer subsequently made extensive changes that also involved David, the work first appeared just short of nine months later. The first edition documents the composer's valid final revision, which is reproduced as the work's main version in the present Urtext edition.The matching piano reduction includes not only an unmarked string part, but also a part with the established markings by Igor Oistrach.
SKU: BR.EB-9374
ISBN 9790004188446. 9 x 12 inches.
Felix Mendelssohn Bartholdy created a standard work with his final violin concerto in E minor op. 64 MWV O 14 that is now firmly established in today's concert repertoire. When in 1838 the composer indicated that he had in mind a violin concerto [...] in E minor [...], it was not only his friend Ferdinand David, the Gewandhaus concertmaster for whom it was intended, who was euphoric. The whole civilized violin world was awaiting this concerto - and yet it was another seven years before the much-anticipated composition was ultimately published by the Leipzig publishing house Breitkopf & Hartel in June 1845, as well as simultaneously in London and Milan. The concerto particularly appeals through its innovative treatment of the solo part, not only because the solo violin strikingly opens the first movement without a preceding orchestral tutti, but also because of its musical dialogue with the orchestra. The Leipzig Gewandhaus premiere on 13 March 1845 with Ferdinand David as soloist under the direction of Nils Wilhelm Gade served - as so frequently with Mendelssohn - virtually as a proofreading process. After the composer subsequently made extensive changes that also involved David, the work first appeared just short of nine months later. The first edition documents the composer's valid final revision, which is reproduced as the work's main version in the present Urtext edition. The matching piano reduction includes not only an unmarked string part, but also a part with the established markings by Igor Oistrach.
SKU: BT.BB3474
ISBN 9783793141716.
For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period inthe form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartók and Eastern European folk music and having an idiosyncraticstructure: Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and endingthemovements with a rhythmic unison. […] Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole. (Walter-WolfgangSparrer)
SKU: HL.48024228
ISBN 9781540057310. UPC: 888680949266. 9x12 inches.
For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period in the form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartók and Eastern European folk musicand having an idiosyncratic structure: “Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and ending the movements with a rhythmic unison. [] Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole.” (Walter-Wolfgang Sparrer).
